Glossary:
Compiled by Gary Palmer
The following list provides basic technical details for each of
the photographic formats noted throughout the filmography, along with notes on
a few other items whose origins were deemed to require some kind of
explanation. Whereas most of the films in the list are shot and projected on
celluloid, many of the lenses mentioned below can also be used on HD video
cameras, or to photograph cel animation.
This does not represent a complete list of all widescreen and
'special' photographic formats, only those which are listed throughout this
filmography.
Unless otherwise noted, all of the photographic formats listed
below were designed to render a 2.35:1 (pre-1971) or 2.39:1 (1971 onwards)
aspect ratio for theatrical exhibition. 2.39:1 is the projected ratio,
though the image on the frame is 2.35:1.
All titles in the filmography were shot in 2- or 4-perf 35mm,
except where another gauge is listed in parentheses directly after the
photographic process. For instance, 'Panavision (HD)' means the film employed anamorphic
Panavision lenses on an HD camera. 'Toeiscope (cel animation)' means anamorphic
lenses were used to photograph still-images to create an animated feature. And
so on and so forth.
Scroll down the page for a list of miscellaneous and non-existent
'widescreen' formats.
----------oOo----------
2.35 Research: 4-perf 35mm anamorphic. Listed in many
sources as '2.35 Research PLC', but this refers to the company which
manufactures the 2.35 Research lenses (PLC stands for 'Public Limited
Company')!
3-Depix: Stereoscopic format in which the left-right
images are placed above-and-below each other in the space normally occupied by
a single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
3D Plus: Anaglyph 3-D process. Aspect ratio varies from
film to film, though any such production listed in this filmography is 2.35:1
in origin (2.39:1 projection from 1971 onwards).
Academy ratio: 4-perf 35mm. Aspect ratio 1.37:1.
Agascope: 4-perf 35mm anamorphic.
Alexscope: 4-perf 35mm anamorphic.
Anamorphic: This phrase is used thoughout the filmography
whenever a film is shot with uncredited 4-perf 35mm anamorphic lenses.
ARC 120 [see: Wonderama]
Arriscope: 4-perf 35mm anamorphic.
ArriVision: 3-D format in which the left-right images are
placed above-and-below each other in the space normally occupied by a single
4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
Asterscope [unknown]
Biansing Scope: 4-perf 35mm anamorphic.
Byronscope [see: Hammerscope]
Camerascope: 4-perf 35mm anamorphic.
Cathay Scope: 4-perf 35mm anamorphic.
Celco Scope: 4-perf 35mm anamorphic.
Centralscope: 4-perf 35mm anamorphic.
CGI Widescreen: Computer-animated material rendered in
scope format within the digital domain.
Chiluen Scope: 4-perf 35mm anamorphic.
Chinascope: 4-perf 35mm anamorphic.
Cineart Scope: 4-perf 35mm anamorphic.
Cinedepth: 3-D format in which the left-right images are
filmed with separate cameras using Techniscope (2-perf 35mm spherical) film.
The images are printed in single-strip/over-under format in the space normally
occupied by a single 4-perf 35mm frame.
CinemaScope: 4-perf 35mm anamorphic. Some of the earliest
CinemaScope films sported a magnetic stereo soundtrack which rendered a 2.55:1
aspect ratio. Separate prints with optical mono soundtracks (rendering a 2.35:1
ratio) were issued to theaters not equipped with the necessary audio hardware.
In those cases, the 2.55:1 versions with mag stereo soundtracks were definitive,
while the 2.35:1 mono versions were no more than a commercial necessity.
However, a number of early CinemaScope films were recorded and released
exclusively in mono sound, and these were framed at 2.35:1. Following the
widespread adoption of magoptical soundtracks in 1956 (featuring mag stereo and
optical mono on the same print), all CinemaScope films were
rendered at 2.35:1, regardless of the primary soundtrack. For various reasons,
a number of early black and white CinemaScope films were credited as Regalscope
(qv).
CinemaScope 55: 8-perf 55mm anamorphic. 6-perf release
prints. Aspect ratio: 2.55:1.
Cinemiracle: Three 6-perf 35mm (spherical) frames
projected side by side to create a single seamless image. Aspect ratio: 2.51:1.
Cineovision: 4-perf 35mm anamorphic.
Cinepanoramic: 4-perf 35mm anamorphic.
Cinerama: Three 6-perf 35mm (spherical) frames projected
side by side to create a single seamless image. Aspect ratio: 2.59:1.
Cinescope: 4-perf 35mm anamorphic.
Cinetotalscope: 2-perf 35mm spherical.
Cinevision [unknown]
Clairmont Scope: 4-perf 35mm anamorphic.
Crane Scope: 4-perf 35mm anamorphic.
Cromoscope: 2-perf 35mm spherical. This was simply
another name for the Techniscope (qv) process.
Daieiscope: 4-perf 35mm anamorphic.
DeepVision: Anaglyph 3-D format. Aspect ratio varies from
film to film, though any such production listed in this filmography is 2.35:1
in origin (2.39:1 projection from 1971 onwards).
DEFA 70: 5-perf 65mm spherical. 5-perf 70mm release
prints. Aspect ratio: 2.20:1.
Deltascope [unknown]
Dimensionalized 3-D: All-purpose phrase which refers to
'flat' 2-D material converted to stereoscopic 3-D.
Dimension 150: 5-perf 65mm spherical. 5-perf 70mm release
prints. Aspect ratio: 2.20:1.
DongBoScope: 4-perf 35mm anamorphic.
Doryscope [unknown]
Dual-Techniscope (3-D): All-purpose phrase which refers
to a stereoscopic format in which the left-right images are filmed with
separate cameras using 2-perf 35mm spherical film. The images are printed in
single-strip/over-under format in the space normally occupied by a single
4-perf 35mm frame.
Duo-Vision: 4-perf 35mm anamorphic. Two Academy-shaped
images (showing different footage of the same scene) configured side by side on
the wide 2.35:1 frame (2.39:1 projection).
DV Widescreen: 2.35:1 image extracted from native 1.33:1
or 1.78:1 digital video material, printed 4-perf 35mm anamorphic and/or
D-Cinema (2.39:1 projection).
Dyaliscope: 4-perf 35mm anamorphic. Credited as
'Dylascope' on at least one film.
Dylascope [see: Dyaliscope]
Elite Scope: 4-perf 35mm anamorphic.
Emperor Scope: 4-perf 35mm anamorphic.
Empirescope: 4-perf 35mm anamorphic.
Europascope [unknown]
Euroscope: 2-perf 35mm spherical.
Fantascope: 4-perf 35mm anamorphic.
Fareast Scope: 4-perf 35mm anamorphic.
Farscope: 4-perf 35mm anamorphic.
Filmascope [unknown]
First Scope: 4-perf 35mm anamorphic.
Franscope: 4-perf 35mm anamorphic.
Fuji Vision: 3-D format in which the left-right images
are placed above-and-below each other in the space normally occupied by a
single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
Fusion 3-D: Stereoscopic format using two HD video
cameras to capture the separate left-right images. Aspect ratio varies from
film to film, though any such production listed in this filmography is 2.35:1
in origin (2.39:1 projection).
Future Dimensions: [see: StereoVision]
Gammascope [unknown]
Grandeur: 4-perf 70mm spherical. Aspect ratio: 2.13:1.
Grandeur 70: 8-perf 55mm anamorphic. Aspect ratio:
2.55:1.
Grand Scope (Hong Kong): 4-perf 35mm anamorphic.
GrandScope (Japan) [see: Shochiku GrandScope]
Hammerscope: 4-perf 35mm anamorphic. Credited as 'Byronscope'
on at least one film.
Hawk Scope: 4-perf 35mm anamorphic.
HD Digital Widescreen: A form of digital 'anamorphosis',
employing HD cameras. Special technology is used to alter the shape of the
pixels that make up the HD video image, 'squeezing' an ultra-wide shape (2.33:1
or 2.37:1, depending on the camera) into the native 1.78:1 frame. The results
are later extracted, unsqueezed and printed at 2.35:1 (4-perf 35mm anamorphic
and/or D-Cinema) for theatrical exhibition at 2.39:1.
HD Widescreen: 2.35:1 image extracted from native 1.78:1
HD frame, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
Hi-Def 3-D: All-purpose phrase, denoting a stereoscopic
format using two HD video cameras to capture the separate left-right images.
Hi-Fi Stereo 70: 3-D format in which the separate
left-right images are placed adjacent to one another in the space normally
occupied by a single 5-perf 65mm frame and subjected to an anamorphic squeeze,
yielding a 2.20:1 aspect ratio. Release prints configured in 5-perf 70mm. Also
known as Stereovision 70 (qv), Triarama (qv) and Super Cinema
3-D.
Hing Fat Scope: 4-perf 35mm anamorphic.
Hi Stereo Vision: 3-D format in which the left-right
images are filmed with separate cameras using Techniscope (2-perf 35mm
spherical) film. The images are printed in single-strip/over-under format in
the space normally occupied by a single 4-perf 35mm frame.
Hispanoscope: 4-perf 35mm anamorphic.
Hypergonar: 4-perf 35mm anamorphic. Aspect ratio: 2.66:1.
Ifiscope [unknown]
IMAX: 15-perf 65mm spherical. Aspect ratio: 1.44:1
(though it can accommodate a variety of ratios within its massive frame).
IMAX DMR 3-D: Stereoscopic format in which material shot
in one particular format (35mm, HD, etc.) is converted to 15-perf IMAX 3-D. The
original material may have been 2-D and converted in post-production.
IMAX 3-D: Stereoscopic format involving the creation and
projection of separate left-right images on two strips of 15-perf 65mm
(spherical) film. Primary aspect ratio: 1.44:1.
Impact 3-D: Stereoscopic format in which the separate
left-right images are stacked above-below in the space normally occupied by a
single 4-perf 35mm frame.
Interscope: 2-perf 35mm spherical.
Iscoscope [unknown]
J-D-C Scope: 4-perf 35mm anamorphic.
Jung An Scope: 4-perf 35mm anamorphic.
Kathleen Scope: 4-perf 35mm anamorphic.
Kathreen Scope: 4-perf 35mm anamorphic.
King Hwa Scope: 4-perf 35mm anamorphic.
Kinopanorama: Three 6-perf 35mm (spherical) frames
projected side by side to create a single seamless image. Aspect ratio: 2.59:1.
Kinopanorama 70: 5-perf 70mm spherical. Aspect ratio:
2.55:1.
Kinoscop [unknown]
Kin Scope: 4-perf 35mm anamorphic.
K.S. Chung Scope: 4-perf 35mm anamorphic.
Kwong Ming Scope: 4-perf 35mm anamorphic.
Lankwong Scope: 4-perf 35mm anamorphic.
LazerVision [see: StereoVision]
Lomoscope: 4-perf 35mm anamorphic.
Magirama: Three 4-perf 35mm (spherical) frames projected
side by side to create a single seamless image. Aspect ratio: 4.00:1.
Magnifilm: 5-perf 65mm spherical. Aspect ratio: 2.05:1.
Magnoscope [unknown]
McNabb 3-D: Stereoscopic format in which the left-right
images are captured on separate strips of 4-perf 35mm spherical film, with
essential action contained within a 2.35:1 portion of the frame(s). This
portion is subsequently extracted and both images are printed in
single-strip/over-under format in the space normally occupied by a single
4-perf 35mm frame.
MCS-70 [see: Superpanorama 70]
MCS Superpanorama 70 [see: Superpanorama 70]
Megascope: There are two different versions of this
particular format. If 'anamorphic' is listed in parentheses directly afterward,
then the film was shot in 4-perf 35mm anamorphic. If 'spherical' is listed
directly afterward, that means the 2.35:1 image was extracted from an Academy
frame and printed 4-perf 35mm anamorphic. Where no such designation is given,
that means the photographic configuration is unknown and the entry will be
marked with an asterisk, awaiting confirmation one way or the other.
Merdekascope [unknown]
MGM Camera 65: 5-perf 65mm anamorphic. 5-perf 70mm
release prints. Aspect ratio: 2.76:1. Subsequently renamed Ultra Panavision 70
(qv).
Miracle ARC 120: [see: Wonderama]
Moviescope: 4-perf 35mm anamorphic.
Multiscreen: This isn't a trade name for a specific
photographic process. Instead, for the purposes of this filmography, it refers
to material shot in a variety of gauges and printed in 4-perf 35mm anamorphic
for theatrical release.
Multivision 235: 2-perf 35mm spherical.
Natural Vision: 6-perf 63.5mm spherical. Aspect ratio:
2.00:1.
Naturama: 4-perf 35mm anamorphic.
Newscope: 4-perf 35mm anamorphic.
Nichiei Scope: 4-perf 35mm anamorphic.
Nikkatsuscope: 4-perf 35mm anamorphic.
Omniavision [unknown].
Optimax III: 3-D format in which the left-right images
are placed above-and-below each other in the space normally occupied by a
single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
Originally known as Super Touch 3-D (qv).
Overscope [unknown].
Overscope 70 [unknown]
Over-under (Techniscope) 3-D: All-purpose phrase which
refers to a stereoscopic format in which the left-right images are placed
above-and-below each other in the space normally occupied by a single 4-perf
35mm frame, creating two separate Techniscope (2-perf) images.
Panascope: 4-perf 35mm anamorphic. Aspect ratio: 2.00:1.
Panavision: 4-perf 35mm anamorphic.
Panavision 70 [see: Super Panavision 70]
Panavision Super 70: 5-perf 65mm spherical. 5-perf 70mm
release prints. Aspect ratio: 2.20:1. Also known as Panavision System 70.
Panavision System 70: [see: Panavision Super 70]
Pancrorama [unknown]
Panoramascope: Possibly 5-perf 65mm spherical, though
more likely 4-perf 35mm anamorphic blown-up to 70mm.
Panoramico Alberini: 5-perf 70mm spherical. Aspect ratio:
2.52:1. Some sources list the format as simply
'Panoramico', but the exact name has yet to be confirmed.
PanorVision [unknown]
Pariscope: 4-perf 35mm anamorphic.
Pirrovision: 2.35:1 image extracted from digital video,
printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection).
PixarVision: CGI widescreen.
Polyvision: Three 4-perf 35mm spherical images projected
side by side to create a single seamless image. Aspect ratio: 4.00:1.
Pornovision [unknown]
Premiere Scope: 2-perf 35mm spherical.
Ramovision [unknown]
Realife: 4-perf 70mm spherical. Aspect ratio: 2.13:1.
Regalscope: 4-perf 35mm anamorphic. This was simply
CinemaScope by another name, credited on a series of black and white films
produced throughout the 1950's.
Reversalscope [unknown]
RKO Scope [see entry in 'Miscellaneous and
non-existent widescreen formats' (below)]
Samcinescope: Anamorphic (35mm?).
Scanoscope: 2-perf 35mm spherical.
Schermiscope [unknown]
Screenstage [unknown]
Shawscope: 4-perf 35mm anamorphic. In the early 1980's,
the Shaw Brothers movie studio continued to run the Shawscope fanfare at the
beginning of their films, even when they were shot and released at 1.85:1. All
the movies listed as Shawscope in this filmography were shot and released at 2.35:1
(2.39:1 projection from 1971 onwards).
Shintohoscope: 4-perf 35mm anamorphic.
Shochiku GrandScope: 4-perf 35mm anamorphic. Some sources
list the format as simply 'GrandScope'.
Sovscope: 4-perf 35mm anamorphic.
Sovscope 70: 5-perf 70mm spherical. Aspect ratio: 2.20:1.
Spacevision: 3-D format in which the left-right images
are placed above-and-below each other in the space normally occupied by a
single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
Spectascope: 4-perf 35mm anamorphic.
Spectrascope: 4-perf 35mm anamorphic.
Spesmaiorscope [unknown]
Spesvision [unknown]
Stereocinescope: 4-perf 35mm anamorphic.
Stereorama: 4-perf 35mm anamorphic.
Stereo-vision: 3-D format utilized on the film SEPTEMBER
STORM (1960) in which the left-right images are captured on separate strips of
4-perf 35mm spherical film using the Natural Vision 3-Dimension camera rig,
with essential action contained within a 2.35:1 portion of the frame(s). This
portion is subsequently extracted and both images are printed - and projected -
in dual-strip 35mm anamorphic. Not to be confused with the later StereoVision
or Stereovision 70 formats (both qv).
StereoVision: 3-D format in which the left-right images
are placed above-and-below each other in the space normally occupied by a
single 4-perf 35mm frame, creating two separate Techniscope (2-perf) images.
Sometimes credited as 'Future Dimensions' and 'LazerVision'. There is an
alternate version of the same process which creates a 1.37:1 image (projected
at any ratio up to 1.85:1), but all StereoVision films listed in this
filmography are 2.35:1 in origin.
Stereovision 70: 3-D format in which the separate
left-right images are placed adjacent to one another in the space normally
occupied by a single 5-perf 65mm frame and subjected to an anamorphic squeeze,
yielding a 2.20:1 aspect ratio. Release prints are configured in 5-perf 70mm.
Also known as Hi Fi Stereo 70 (qv), Triarama (qv) and Super
Cinema 3-D. Not to be confused with the later StereoVision 70 format, which
yielded a 1.37:1 projectable image.
Superama: 2.35:1 image extracted from Academy frame,
printed 4-perf 35mm anamorphic.
SuperCinescope: 4-perf 35mm anamorphic.
Supercinevision [unknown]
Superfilmscope [unknown]
Super Panavision 70: 5-perf 65mm spherical. 5-perf 70mm
release prints. Aspect ratio: 2.20:1. Some of the earliest films shot in this
format are credited on-screen as 'Panavision 70'.
Superpanorama 70: 5-perf 65mm spherical. 5-perf 70mm
release prints. Aspect ratio: 2.20:1. Sometimes listed as MCS Superpanorama 70
or MCS-70.
Superscope: 2.00:1 image extracted from full-aperture or
Academy frame, printed 4-perf 35mm anamorphic.
Superscope 235: 2.35:1 image extracted from full-aperture
or Academy frame, printed 4-perf 35mm anamorphic.
Super 16: For the purposes of this filmography, the
phrase 'Super 16' is used to denote a 2.35:1 image extracted from a 1-perf
Super 16 frame, printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1
projection).
Super Technirama 70: Not a 65mm format, despite
appearances to the contrary! Such films were shot in 'standard' Technirama
(8-perf 35mm anamorphic), rendering a 2.35:1 aspect ratio. A 2.21:1 portion of
the image (2.20:1 from the late 1970's onward) was subsequently extracted and
'unsqueezed' before being printed in 5-perf 70mm spherical. The results were
billed as 'Super Technirama 70', though some early titles credit nothing more
than 'Technirama 70' on-screen.
Super Techniscope: [see: Super 35]
Super 35: 2.35:1 image extracted from Academy frame,
printed 4-perf 35mm anamorphic and/or D-Cinema (2.39:1 projection). Also known
as Super Techniscope and System 35.
Super Totalscope: 4-perf 35mm anamorphic.
Super Totalvision: 4-perf 35mm anamorphic.
Super Touch 3-D: Stereoscopic format in which the
separate left-right images are stacked above/below in the space normally
occupied by a single 4-perf 35mm frame, creating two separate Techniscope (2-perf)
images. Sometimes promoted under the names Real-a-Rama, Super 3D or
Ultra-Cubic 3-D. Later renamed Optimax III (qv) following a change in
the technical specifications.
System 35 [see: Super 35]
Tai-Chang Scope: 4-perf 35mm anamorphic.
Tang's Scope: 4-perf 35mm anamorphic.
Technirama: 8-perf 35mm anamorphic.
Technirama 70 [see: Super Technirama 70]
Techniscope: 2-perf 35mm spherical. Also known as
Cromoscope (qv).
Techniscope II: 2-perf 35mm spherical.
Technovision: 4-perf 35mm anamorphic.
Thrillarama: Two 4-perf 35mm spherical images projected
side by side to create a single seamless image. Aspect ratio: 2.66:1.
Todd-AO: 5-perf 65mm spherical. 5-perf 70mm release
prints. Aspect ratio: 2.20:1.
Todd-AO 35: 4-perf 35mm anamorphic.
Todd-70: 5-perf 65mm spherical. 5-perf 70mm release
prints. Aspect ratio: 2.20:1.
Toeiscope: 4-perf 35mm anamorphic.
Tohoscope: 4-perf 35mm anamorphic.
Totalscope: 4-perf 35mm anamorphic.
Totalscope Super/100: 4-perf 35mm anamorphic.
Totalvision: 4-perf 35mm anamorphic.
Triangle 3-D: Anaglyphic 3-D system. Aspect ratio varies
from film to film, though any such production listed in this filmography is
2.35:1 in origin (2.39:1 projection from 1971 onwards).
Triarama: 3-D format in which the separate left-right
images are placed adjacent to one another in the space normally occupied by a
single 5-perf 65mm frame and subjected to an anamorphic squeeze, yielding a
2.20:1 aspect ratio. Release prints are configured in 5-perf 70mm. Also known
as Hi Fi Stereo 70 (qv), Stereovision 70 (qv) and Super Cinema
3-D. Not to be confused with another format known as Triarama, devised in the
early 1950's, in which two 1-perf 16mm spherical images were projected side by
side to create a single seamless image (that format isn't listed here, since no
feature-length items were ever shot in this process).
Triptych: Though the word 'triptych' means three images
side by side, the 'Triptych' in this filmography refers to a process employed
on the film AKA (2002), in which three separate 1.78:1 images - showing three
different angles of the same scene - were printed side by side on 4-perf 35mm
anamorphic film, creating a super-wide (4.00:1) ratio within the 2.35:1 frame
(2.39:1 projection).
Tronchet Scope: 1-perf 16mm anamorphic.
Tru 3-D: Stereoscopic CGI animation.
Ultra Panavision 70: 5-perf 65mm anamorphic. 5-perf 70mm
release prints. Aspect ratio: 2.76:1. Originally known as MGM Camera 65 (qv).
Ultrascope: 4-perf 35mm anamorphic.
Ultra Vision: 3-D format in which the left-right images
are filmed with separate cameras using Techniscope (2-perf 35mm spherical)
film. The images are printed in single-strip/over-under format in the space
normally occupied by a single 4-perf 35mm frame.
Uniscope: 4-perf 35mm anamorphic.
Univision [see: Univisium]
Univisium: 2.00:1 image extracted from Academy frame,
printed 4-perf 35mm anamorphic and/or D-Cinema. Listed in some English-language
sources as Univision.
Uraniascope [unknown]
Vistarama: 4-perf 35mm anamorphic.
Vistascope: 4-perf 35mm anamorphic. This format was only
ever credited on a single feature film (ATLAS, 1961), but the trade name was
subsequently employed on ad-mats for two spherical (1.85:1) features - THE LAST
WOMAN ON EARTH (1962) and THE TERROR (1963) - for promotional purposes. Be
aware that the same trade name was used for an anamorphic lens with a 1.5x
squeeze ratio, made available to amateur filmmakers in the US during the late
1950's.
VistaVision: 8-perf 35mm spherical. The primary aspect
ratio was 1.85:1, though films shot in VistaVision could be projected at any
ratio between 1.66:1 and 2.00:1.
Vitascope: 5-perf 65mm spherical. Aspect ratio: 2.05:1.
WarnerScope: There are two different versions of this
particular format. If 'anamorphic' is listed in parentheses directly afterward,
then the film was shot in 4-perf 35mm anamorphic. If 'spherical' is listed
directly afterward, that means the 2.35:1 image was extracted from an Academy
frame and printed 4-perf 35mm anamorphic. Where no such designation is given,
that means the photographic configuration is unknown and the entry will be
marked with an asterisk, awaiting confirmation one way or the other.
Warwickscope: 2.35:1 image extracted from Academy frame,
printed 4-perf 35mm anamorphic.
Widescreen (cel animation): All-purpose phrase which
refers to a cel-animated film whose photographic process is unknown.
Wing Scope: 4-perf 35mm anamorphic.
Wonderama: 4-perf 35mm format in which an anamorphic
image - filmed in another format, such as Technirama - is 'unsqueezed' and
split down the middle. The two halves are configured side by side ('toe-to-toe'
formation) in the space normally occupied by a single 4-perf 35mm frame. A
prism on the projector rearranges the images into a 2.64:1 projectable frame.
Originally known as ARC 120, and sometimes billed as Miracle ARC 120.
Woojinscope: 4-perf 35mm anamorphic.
Yangtze Scope: 4-perf 35mm anamorphic.
Yulin Scope: 4-perf 35mm anamorphic.
Miscellaneous and non-existent screen formats:
2.35 Research PLC: This was a subsidiary company of Joe
Dunton Cameras Ltd which manufactured anamorphic lenses known as 2.35 Research
(qv). However, many sources confuse the name of the company with the
lenses they produced (PLC stands for 'Public Limited Company').
Actionscope: Non-existent format, credited on ad-mats for
a number of Japanese action movies released in the US throughout the 1970's.
Cinepanorama: Anglicized name for the Kinopanorama (qv)
format.
Cinerama Scope: Non-existent format, used for promotional
ballyhoo on at least one Hong Kong action movie.
CineVision: Non-existent format, used for promotional
ballyhoo.
Colorscope: Non-existent format, a conflation of the
words 'Color' and 'Scope', used extensively on US and international ad-mats
throughout the 1960's, even when the film itself was shot in a bona fide
scope format (Totalscope, Techniscope, etc.). The name 'Colorscope' was also
used to promote movies photographed and exhibited at ratios between 1.66:1 and
1.85:1.
Dimensionscope: Non-existent format, used for promotional
purposes on some films shot in the Optimax III (3-D) process.
Dragarama: A joke name for a non-existent format,
credited on THE ADVENTURES OF PRISCILLA QUEEN OF THE DESERT.
Dynamation: Non-existent format, credited on various
movies featuring stop-motion animation by visual effects maestro Ray
Harryhausen.
Hi-Fi Scope: Non-existent format, used for promotional
purposes only.
Magiscope: Non-existent format, used for promotional
purposes only.
Metroscope: Not a 2.35:1 widescreen process, despite
being credited as such in many sources. These films were shot with spherical
lenses and a hard matte, which meant they could be projected at a variety of
ratios between 1.66:1 and 2.00:1.
Nudiscope: Non-existent format, used for promotional purposes
only.
Panoramic [see: Panoramica]
Panoramica: Also known as 'Panoramic'. Non-existent
format, credited on a number of European ad-mats throughout the 1960's and 70's
to denote 'widescreen' movies shot and exhibited anywhere betweem 1.66:1 and 1.85:1.
Real-a-Rama: Promotional name for the Quadrophonic Sound
format employed on the 1977 martial arts drama DYNASTY (qv).
RKO Scope: 2.35:1 image extracted from Academy frame,
printed 4-perf 35mm anamorphic. This format was employed in the UK only, and
involved the cropping of imported films produced by RKO Studios which had been
composed for ratios between 1.37:1 and 1.85:1 (and released that way in the
US).
Storybookscope: Non-existent format, used for promotional
purposes only.
Super Cinerama: Not a widescreen format but an exhibition
format similar to 'regular' Cinerama which instead used larger floor-to-ceiling
screens for enhanced visual sensation.
SuperCinevision: Non-existent format, used for
promotional purposes only.
Super Panavision Process: Non-existent format, used for
promotional purposes only.
Super 3-D: Non-existent format, used for promotional
purposes on some films shot in the Super Touch 3-D process.
Ultra-Cubic 3-D: Non-existent format, used for
promotional purposes on some films shot in the Super Touch 3-D process.
Ultrapanoramica: Non-existent format, credited on a
number of European ad-mats throughout the 1960's and 70's to denote movies shot
and exhibited anywhere between 1.66:1 and 2.35:1.
Vitamotion: Non-existent format, used for promotional
purposes only.
Widescope: Non-existent format, used for promotional
purposes on a number of European films released in the US throughout the 1960's
and 70's. However, this is not to be confused with a genuine 'Widescope' format
developed in the 1920's, originally conceived as two interlocked 4-perf 35mm
frames, later reconfigured as a 5-perf 57mm spherical format. However, no
feature-length items were ever shot in 'genuine' Widescope.